The History Of Photography

( Originally Published 1849 )

As in all cases of great and valuable inventions in science and
art the English lay claim to the honor of having first discovered that of
Photogenic drawing. But we shall see in the progress of this history, that like
many other assumptions of their authors, priority in this is no more due them,
then the invention of steamboats, or the cotton gin.

This claim is founded upon the fact that in 1802 Mr. Wedgwood
recorded an experiment in the Journal of the Royal Institution of the following
nature.

"A piece of paper, or other convenient material, was placed upon
a frame and sponged over with a solution of nitrate of silver; it was then
placed behind a painting on glass and the light traversing the painting produced
a kind of copy upon the prepared paper, those parts in which the rays were least
intercepted being of the darkest hues. Here, however, terminated the experiment;
for although both Mr. Wedgwood and Sir Humphry Davey experimented carefully, for
the purpose of endeavoring to fix the drawings thus obtained, yet the object
could not be accomplished, and the whole ended in failure."

This, by their own showing, was the earliest attempt of the
English savans. But this much of the principle was known to the Alchemists at an
early date-- although practically produced in another way--as the following
experiment, to be found in old books, amply proves.

"Dissolve chalk in aquafortis to the consistence of milk, and
add to it a strong solution of silver; keep this liquor in a glass bottle well
stopped; then cutting out from a piece of paper the letters you would have
appear, paste it on the decanter, and lay it in the sun's rays in such a manner
that the rays may pass through the spaces cut out of the paper and fall on the
surface of the liquor the part of the glass through which the rays pass will be
turned black, while that under the paper remains white; but particular care must
be observed that the bottle be not moved during the operation."

Had not the alchemists been so intent upon the desire to
discover the far famed philosopher's stone, as to make them unmindful of the
accidental dawnings of more valuable discoveries, this little experiment in
chemistry might have induced them to prosecute a more thorough search into the
principle, and Photogenic art would not now, as it is, be a new one.

It is even asserted that the Jugglers of India were for many
ages in possession of a secret by which they were enabled, in a brief space, to
copy the likeness of any individual by the action of light. This fact, if fact
it be, may account for the celebrated magic mirrors said to be possessed by
these jugglers, and probable cause of their power over the people.

However, as early as 1556 the fact was established that a
combination of chloride and silver. called, from its appearance, horn silver,
was blackened by the sun's rays; and in the latter part of the last century Mrs.
Fulhame published an experiment by which a change of color was effected in the
chloride of gold by the agency of light; and gave it as her opinion that words
might be written in this way. These incidents are considered as the first steps
towards the discovery of the Photogenic art.

Mr. Wedgwood's experiments can scarcely be said to be any
improvement on them since he failed to bring them to practical usefulness, and
his countrymen will have to be satisfied with awarding the honor of its complete
adaptation to practical purposes, to MM. Niepce and Daguerre of France, and to
Professors Draper, and Morse of New-York.

These gentlemen--MM. Niepce and Daguerre--pursued the subject
simultaneously, without either, however being aware of the experiments of his
colleague in science. For several years, each pursued his researches
individually until chance made them acquainted, when they entered into
co-partnership, and conjointly brought the art almost to perfection.

M. Niepce presented his first paper on the subject to the Royal
Society in 1827, naming his discovery Heliography. What led him to the study of
the principles of the art I have no means, at present, of knowing, but it was
probably owing to the facts recorded by the Alchemists, Mrs. Fulhame and others,
already mentioned. But M. Daguerre, who is a celebrated dioramic painter, being
desirous of employing some of the singularly changeable salts of silver to
produce a peculiar class of effects in his paintings, was led to pursue an
investigation which resulted in the discovery of the Daguerreotype, or
Photogenic drawing on plates of copper coated with silver.

To this gentleman--to his liberality--are we Americans indebted
for the free use of his invention; and the large and increasing class of
Daguerrean artists of this country should hold him in the most profound respect
for it. He was not willing that it should be confined to a few individuals who
might monopolise the benefits to be derived from its practice, and shut out all
chance of improvement. Like a true, noble hearted French gentleman he desired
that his invention should spread freely throughout the whole world. With these
views he opened negociations with the French government which were concluded
most favorably to both the inventors, and France has the "glory of endowing the
whole world of science and art with one of the most surprising discoveries that
honor the land."

Notwithstanding this, it has been patented in England and the
result is what might have been expected: English pictures are far below the
standard of excellence of those taken by American artists. I have seen some
medium portraits, for which a guinea each had been paid, and taken too, by a
celebrated artist, that our poorest Daguerreotypists would be ashamed to show to
a second person, much less suffer to leave their rooms.

CALOTYPE, the name given to one of the methods of Photogenic
drawing on paper, discovered, and perfected by Mr. Fox Talbot of England, is
precisely in the same predicament, not only in that country but in the United
States, Mr. Talbot being patentee in both. He is a man of some wealth, I
believe, but he demands so high a price for a single right in this country, that
none can be found who have the temerity to purchase.

The execution of his pictures is also inferior to those taken by
the German artists, and I would remark en passant, that the Messrs. Mead
exhibited at the last fair of the American Institute, (of 1848,) four Calotypes,
which one of the firm brought from Germany last Spring, that for beauty, depth
of tone and excellence of execution surpass the finest steel engraving.

When Mr. Talbot's patent for the United States expires and our
ingenious Yankee boys have the opportunity, I have not the slightest doubt of
the Calotype, in their hands, entirely superceding the Daguerreotype.

Let them, therefore, study the principles of the art as laid
down in this little work, experiment, practice and perfect themselves in it, and
when that time does arrive be prepared to produce that degree of excellence in
Calotype they have already obtained in Daguerreotype.

It is to Professor Samuel F. B. Morse, the distinguished
inventor of the Magnetic Telegraph, of New York, that we are indebted for the
application of Photography, to portrait taking. He was in Paris, for the purpose
of presenting to the scientific world his Electro-Magnetic Telegraph, at the
time, (1838,) M. Daguerre announced his
splendid discovery, and its astounding results having an important bearing on
the arts of design arrested his attention. In his letter to me on the subject,
the Professor gives the following interesting facts.

"The process was a secret, and negociations were then in
progress, for the disclosure of it to the public between the French government
and the distinguished discoverer. M. Daguerre had shown his results to the king,
and to a few only of the distinguished savans, and by the advice of M. Arago,
had determined to wait the action of the French Chambers, before showing them to
any other persons. I was exceedingly desirous of seeing them, but knew not how
to approach M. Daguerre who was a stranger to me. On mentioning my desire to
Robert Walsh, Esq., our worthy Consul, he said to me; "state that you are an
American, the inventor of the Telegraph, request to see them, and invite him in
turn to see the Telegraph, and I know enough of the urbanity and liberal
feelings of the French, to insure you an invitation." I was successfull in my
application, and with a young friend, since deceased, the promising son of
Edward Delevan, Esq., I passed a most delightful hour with M. Daguerre, and his
enchanting sun-pictures. My letter containing an account of this visit, and
these pictures, was the first announcement in this country of this splendid
discovery."

"I may here add the singular sequel to this visit. On the
succeeding day M. Daguerre paid me a visit to see the Telegraph and witness its
operations. He seemed much gratified and remained with me perhaps two hours; two
melancholy hours to him, as they afterwards proved; or while he was with me, his
buildings, including his diorama, his studio, his laboratory, with all the
beautiful pictures I had seen the day before, were consumed by fire. Fortunately
for mankind, matter only was consumed, the soul and mind of the genius, and the
process were still in existence."

On his return home, Professor Morse waited with impatience for
the revelation of M. Daguerre's process, and no sooner was it published than he
procured a copy of the work containing it, and at once commenced taking
Daguerreotype pictures. At first his object was solely to furnish his studio
with studies from nature; but his experiments led him into a belief of the
practicability of procuring portraits by the process, and he was undoubtedly the
first whose attempts were attended with success. Thinking, at that time, that it
was necessary to place the sitters in a very strong light, they were all taken
with their eyes closed.

Others were experimenting at the same time, among them Mr.
Wolcott and Prof. Draper, and Mr. Morse, with his acustomed modesty, thinks that
it would be difficult to say to whom is due the credit of the first
Daguerreotype portrait. At all events, so far as my knowledge serves me,
Professor Morse deserves the laurel wreath, as from him originated the first of
our inumerable class of Daguerreotypists; and many of his pupils have carried
the manipulation to very great perfection. In connection with this matter I will
give the concluding paragraph of a private letter from the Professor to me; He
says.

"If mine were the first, other experimenters soon made better
results, and if there are any who dispute that I was first, I shall have no
argument with them; for I was not so anxious to be the first to produce the
result, as to produce it in any way. I esteem it but the natural carrying out of
the wonderful discovery, and that the credit was after all due to Daguerre. I
lay no claim to any improvements."

Since I commenced the compilation of this work, I have had the
pleasure of making the acquaintance of an American gentleman--James M. Wattles
Esq.-- who as early as 1828--and it will be seen, by what I have already stated,
that this is about the same date of M. Niepce's discovery--had his attention
attracted to the subject of Photography, or as he termed it "Solar picture
drawing," while taking landscape views by means of the camera-obscura. When we
reflect upon all the circumstances connected with his experiments, the great
disadvantages under which be labored, and his extreme youthfullness, we cannot
but feel a national pride--yet wonder--that a mere yankee boy, surrounded by the
deepest forests, hundred of miles from the populous portion of our country,
without the necessary materials, or resources for procuring them, should by the
force of his natural genius make a discovery, and put it in practical use, to
accomplish which, the most learned philosophers of Europe, with every requisite
apparatus, and a profound knowledge of chemistry--spent years of toil to
accomplish. How much more latent talent may now be slumbering from the very same
cause which kept Mr. Wattles from publicly revealing his discoveries, viz; want
of encouragement--ridicule!

At the time when the idea of taking pictures permanently on
paper by means of the camera-obscura first occurred to him, he was but sixteen
years of age, and under the instructions of Mr. Charles Le Seuer, (a talented
artist from Paris) at the New Harmony school, Indiana. Drawing and painting
being the natural bent of his mind, be was frequently employed by the professors
to make landscape sketches in the manner mentioned. The beauty of the image of
these landscapes produced on the paper in the camera-obscura, caused him to
pause and admire them with all the ardor of a young artist, and wish that by
some means, he could fix them there in all their beauty. From wishing he brought
himself to think that it was not only possible but actually capable of
accomplishment and from thinking it could, he resolved it should be done.

He was, however, wholly ignorant of even the first principles of
chemistry, and natural philosophy, and all the knowledge he was enabled to
obtain from his teachers was of very little service to him. To add to this,
whenever he mentioned his hopes to his parents, they laughed at him, and bade
him attend to his studies and let such moonshine thoughts alone--still he
persevered, though secretly, and he met with the succes his peseverance
deserved.

For the truth of his statement, Mr. Wattles refers to some of
our most respectable citizens residing at the west, and I am in hopes that I
shall be enabled to receive in time for this publication, a confirmation from
one or more of these gentlemen. Be that as it may, I feel confident in the
integrity of Mr. Wattles, and can give his statement to the world without a
doubt of its truth.

The following sketch of his experiments and their results will,
undoubtedly, be interesting to every American reader and although some of the
profound philosophers of Europe may smile at his method of proceeding, it will
in some measure show the innate genius of American minds, and prove that we are
not far behind our trans-atlantic brethren in the arts and sciences.

Mr. Wattles says: "In my first efforts to effect the desired
object, they were feeble indeed, and owing to my limited knowledge of
chemistry-- wholly acquired by questioning my teachers--I met with repeated
failures but following them up with a determined spirit, I at last produced,
what I thought very fair samples--but to proceed to my experiments."

"I first dipped a quarter sheet of thin white writing paper in a
weak solution of caustic (as I then called it) and dried it in an empty box, to
keep it in the dark; when dry, I placed it in the camera and watched it with
great patience for nearly half an hour, without producing any visible result;
evidently from the solution being to weak. I then soaked the same piece of paper
in a solution of common potash, and then again in caustic water a little
stronger than the first, and when dry placed it in the camera. In about
forty-five minutes I plainly percieved the effect, in the gradual darkening of
various parts of the view, which was the old stone fort in the rear of the
school garden, with the trees, fence, &c. I then became convinced of the
practicability of producing beautiful solar pictures in this way; but, alas! my
picture vanished and with it, all--no not all--my hopes. With renewed
determination I began again by studying the nature of the preparation, and came
to the conclusion, that if I could destroy the part not acted upon by the light
without injuring that which was so acted upon, I could save my pictures. I then
made a strong solution of sal. soda I had in the house, and soaked my paper in
it, and then washed it off in hot water, which perfectly fixed the view upon the
paper. This paper was very poor with thick spots, more absorbent than other
parts, and consequently made dark shades in the picture where they should not
have been; but it was enough to convince me that I had succeeded, and that at
some future time, when I had the means and a more extensive knowledge of
chemistry, I could apply myself to it again. I have done so since, at various
times, with perfect success; but in every instance laboring under adverse
circumstances."

I have very recently learned, that, under the present patent
laws of the United States, every foreign patentee is required to put his
invention, or discovery, into practical use within eighteen months after taking
out his papers, or otherwise forfeit his patent. With regard to Mr. Talbot's
Calotype patent, this time has nearly, if not quite expired, and my countrymen
are now at perfect liberty to appropriate the art if they feel disposed. From
the statement of Mr. Wattles, it will be perceived that this can be done without
dishonor, as in the first instance Mr. Talbot had no positive right to his
patent.

Photography; or sun-painting is divided, according to the
methods adopted for producing pictures, into: